Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-05-24T21:47:40Z No. of bitstreams: 1 MarcosFerreiraSilva.pdf: 3287860 bytes, checksum: e65fb676b6409bfade9dea428fa87d8b (MD5) / Made available in DSpace on 2017-05-24T21:47:40Z (GMT). No. of bitstreams: 1 MarcosFerreiraSilva.pdf: 3287860 bytes, checksum: e65fb676b6409bfade9dea428fa87d8b (MD5) Previous issue date: 2015-11-03 / This paper presents considerations about some elements of the Gospel record musical production, especially the discursive strategies which involve it, starting from the theoretical perspective of the philosopher Michel Foucault and his arquegenealógico method. Inquires about which knowledges are produced about the gospel music through power elements. Considers the theoretical changes in the field of history, human and social sciences, which enables the conception of the gospel musical discs while investigative material and historical source full of historicity and discourse. Analyzes the discursive formations on gospel music, considering its conditions of existence, coexistence and maintenance in several materiality: young musical groups’ LPs in Presentations and recommendations produced within Pentecostalism, and a composition named "Só entra lavado ". In his archaeological phase, Foucault (1969) analyzes the speech starting from the knowlegde. According to him the discursive practice is determined by a regularity that allows that something appears as real. In his study of the genealogy, Foucault (1999) states that there is an interdependence between discourse and power, because this, the speech is an instrument and an effect of the power. In this sense, the arquegenealógica analysis allows us to observe the speech as a place where knowledge and power are. Anchored in arquegenealogia, is analyzed in this work, as the power penetrates in the everyday life, promoting knowledge and discourse about what is gospel music, producing a dialogical relation with the bible speechs about marriage as an institution that should last forever, disciplining those who "enters in the heaven." The material that constitute the corpus of this research correspond to the 70’s and 80’s, temporal delimitation that represents the period of formation and expansion of the Brazilian Evangelical Phonographic Industry, besides the rise of musical styles and genres that come to challenge the official hymnody of the brazilian historic Protestantism, period in which the conception gospel was not an usual terminology in the phonographic productions, much less in the order and discursive formation of this context. / Este trabalho apresenta considerações sobre alguns elementos da produção discográfica evangélica, em especial as estratégias discursivas que a permeiam, a partir da perspectiva teórica do filósofo Michel Foucault e de seu método arquegenealógico. Indaga sobre que saberes são produzidos a respeito da música evangélica por meio de que elementos de poder. Considera as transformações teóricas no campo da história, das ciências humanas e sociais, viabilizadoras da concepção dos discos musicais evangélicos enquanto objeto de investigação e fonte histórica eivados de historicidade e discursividade. Analisa as formações discursivas sobre a música evangélica, considerando suas condições de existência, de coexistência e de manutenção em diversas materialidades: LPs de grupos musicais jovens, nas Apresentações e Recomendações de LPs produzidos no interior do pentecostalismo, e uma composição intitulada “Só entra lavado”. Em sua fase arqueológica, Foucault (1969) analisa o discurso a partir do saber. Segundo ele, a prática discursiva é determinada por uma regularidade que permite com que algo apareça como verdadeiro. Em seus estudos sobre a genealogia, Foucault (1999) afirma que há uma interdependência entre discurso e poder, sendo o discurso instrumento e efeito de poder. Nesse sentido, uma análise arquegenealógica permite observar o discurso como espaço onde se alojam saberes e poderes. Ancorado na arquegenealogia, analisa-se, neste trabalho, como o poder penetra na vida cotidiana, promovendo saberes e discursos sobre o que é música evangélica, produzindo uma relação dialógica com os discursos bíblicos sobre o casamento como uma instituição que deve durar para sempre, disciplinando quem “entra no céu”. As materialidades que constituem o corpus desta pesquisa correspondem aos anos 1970 e 1980, delimitação temporal que sinaliza o momento de formação e expansão da Indústria Fonográfica Evangélica Brasileira, além da ascensão de estilos e gêneros musicais que passam a contestar a hinódia oficial do protestantismo histórico brasileiro, período em que a concepção da terminologia Gospel não se fazia usual nas produções fonográficas e muito menos na ordem e formação discursiva desse contexto.

Perhaps no melody in the country music canon has been as widely recognized and borrowed from as that of the song “The Great Speckled Bird.” This significant song has become resonant and representative of both country music culture and religious culture of the Protestant South. Through this historiographical study, I have traced the influences that helped shape “The Great Speckled Bird” and in so doing have illustrated distinct movements that led to popularizing the non-secular song through commercial country music. The composer’s use of sentimentality, neo- traditionalism, and religious ideas made it appealing to a rural southern culture struggling with the social, racial, and economic changes of the early twentieth century. As I develop and explore the diverse influences that helped to shape “The Great Speckled Bird,” I will illustrate the interconnectedness of country music culture and the wider popular and religious cultures of the white Protestant South.

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This thesis explores the relationship between black gospel music and the African American freedom struggle of the post-WWII era. More specifically, it addresses the paradoxical suggestion that black gospel artists themselves were typically escapist, apathetic, and politically uninvolved—like the black church and black masses in general—despite the “classical” Southern movement music being largely gospel-based. This thesis argues that gospel was in fact a critical component of the civil rights movement. In ways open and veiled, black gospel music always spoke to the issue of freedom. Topics include: grassroots gospel communities; African American sacred song and coded resistance; black church culture and social action; freedom songs and local movements; socially conscious or activist gospel figures; gospel records with civil rights themes.

This dissertation studies South African popular 'Gospel' music in the context of the new order of the post-apartheid era. The four main focal points of the study are genre, production, mediation and consumption. The end of apartheid was a historic and significant socio-political phenomenon in South Africa. Its implications were not only socio-political; they also affected many other aspects of the country, including arts and culture. Music was not exempt. The genre of local 'Gospel' is premised on the Christian faith, so that by producing and mediating 'Gospel' music, the music industry is at the same time producing and mediating the 'Gospel', or Christian culture. Consequently, by consuming 'Gospel' music the audience also consumes this 'Gospel' culture. Local 'Gospel' first emerged with foreign influences brought into South Africa by the missionaries, but gradually developed into the broad and complex genre that we know today. This is, in part, a result of 'other' influences, styles and elements having been incorporated into it. Many production companies are responsible for the production of local 'Gospel' music. These can be broadly categorized into two: major companies, and indies (which are small, private production companies). These two production routes have different implications for the artists and their music. Similarly, there are many different ways in which this music is mediated, or 'channelled', to its audience. These include television, radio, print media (newspapers, magazines, posters, fliers, etc.), internet, and live performances, all of which have their own specificities that determine their effectiveness in mediating local 'Gospel'. As is the case with any music, the audience for local 'Gospel' consumes its music in different ways and for different purposes. Though the artists/musicians assign certain meanings to their musical works, the audience does not always identify precisely with those musical meanings. Different people at different places and times, with different experiences and social conditions, encounter and interpret the music in different ways. South African popular 'Gospel' music is a broad and complex genre that has developed and grown over the years. The birth of democracy has had an indelible impact on it, and on its processes of production, mediation and consumption. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2005.

Thesis (Ed. D.)--Indiana University of Pennsylvania. / Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ed. D.)--Indiana University of Pennsylvania. / Includes bibliographical references (p. 135-142)

This study offers a practical theology of evangelism for black churches in an increasingly postmodern American cultural context. As a postmodern politics of difference challenges the traditional construction of black racial identity and religious pluralism challenges the basis of Christian confessional commitment, the black church must reassess what it means to bear witness to a distinctive black Christian faith tradition. As a work in practical theology, this reflection emanates from a consideration of how these issues manifest in a concrete situation. Specifically, the dissertation investigates the practices and self-understanding of three historically black collegiate gospel choirs (HBCGCs) affiliated with predominantly white major research universities in the greater Boston area. The descriptive analysis of these HBCGCs and the ecclesiological discussion that follows assume a reflexive quality whereby the research on HBCGCs contributes fresh insights regarding the nature of black Christian community within a racially diverse and religiously pluralist social context even as the praxis of HBCGCs is subjected to critique through the normative gaze of black theology. This dialogue includes voices from black postmodern cultural criticism in order to develop a black postmodern ecclesiology that preserves the distinctiveness of the black Christian tradition through the exercise of narrative discipline while embracing a reconstructed notion of communal solidarity that is strengthened by difference. From this black postmodern ecclesiology, evangelism emerges as the ecclesial practice of extending the church’s communal witness across the boundary lines between church and world through mutually critical transformative exchanges. The study brings black postmodern ecclesiology into conversation with cross-cultural missional theology and postliberal communalism to arrive at a narrativist confessional approach to evangelism that affirms the particularity of the Christian gospel while recognizing the work of the Spirit outside the church. The descriptive analysis of HBCGCs aids in imagining the practical implications of this approach as they creatively embody aspects of the communal life of black churches, thereby providing unique extra-ecclesial spaces within which mutually critical transformative exchanges occur between those for whom the black Christian tradition is normative and those for whom it is not—risky exchanges the outcomes of which are unpredictable, yet beautiful and joyful.

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